Speeches & Tips
Shakespeare Audition Pieces
You must choose one of the pieces below for your audition with us…
King Lear – Act 2 Scene 3 – Edgar:
“I heard myself proclaim’d………”
Richard III – Act 1 Scene 2 – Richard III:
“Was ever woman in this humour woo’d………”
Macbeth – Act 3 Scene 1 – Macbeth:
“To be thus is nothing, but to be safely thus………”
King John – Act 4 Scene 1 – Arthur
“Have you the heart? When your head did ache………”
Cymbeline – Act 2 Scene 4 – Posthumus:
“Is there no way for men to be, but women must be half workers………”
Measure for Measure – Act 2 Scene 2 – Angelo:
“What’s this? What’s this? Is this her fault, or mine? ………”
Romeo & Juliet – Act 3, Scene 2 – Juliet:
“Gallop apace, you fiery-footed………upon a raven’s back”
Julius Ceasar – Act 2 Scene 1 – Portia:
“Is Brutus sick………”
A Midsummer Night’s Dream – Act3 Scene 2 – Helena:
“Oh spite, oh hell, I see you are all bent ………”
Troilus & Cressida – Act 3 Scene 2 – Cressida:
“Hard to seem won; but I was won, my lord… My lord, I do beseech you pardon me……”
King Lear – Act 1 Scene 3 – Goneril:
“By day and night he wrongs me………Prepare for dinner”
Richard II – Act 5 Scene 1 – Queen:
“This way the King will come………”
Tips and Advice for Auditioning at Italia Conti
Making sure you maximise your chance of making a good impression
1. Please keep your audition pieces to one & half minutes or under.
2. Make sure that your pieces are within your playing-range in terms of gender, age and physical type.
3. Do not attempt accents other than your own unless you are very confident about your ability.
4. Learn your pieces very thoroughly.
5. Avoid self-written pieces.
6. If possible find at least one piece with which you have a particular relationship or connection: e.g. a piece by a Scottish writer if you are from Scotland.
7. Familiarise yourself with the plays your pieces are taken from.
8. Please choose one Shakespearean piece, from the attached list and one piece from a modern play (we define this as Post 1950), of your choice.
9. Wear loose comfortable clothing, for ease of movement.
10. Try not to spend ages getting into character. It’s best to take a breath and jump straight in!
11. And finally, we don’t mind if you speak directly to the panel – we’d rather you spoke to us than to an empty chair!
12. Be prepared to be redirected and if you don’t understand the redirection, please say so!
‘The Childrens Hour’ by Lillian Hellman, Directed by Aoife Smyth, Avondale Theatre, November 2014